So why would anyone in their right mind want to take a four hundred mile round trip in foul weather while jet-lagged to go to a gig? Well, if it was the only opportunity in two years to see Southside Johnny and the Asbury Jukes in the UK, then it’s a small price to pay. And, let’s be completely upfront about this, I’m a fan and I have been for, well, let’s say a long time. I’ll give you a clue how long, I bought their first album, “I Don’t Want to Go Home”, in 1976. As you might expect with an eight/nine/ten piece band that’s been around for forty years, they’ve been through a few line-up changes; well, ok, Southside Johnny is the only member left from the original line-up, but you can call that evolution if you like. Following the release of the latest Jukes album, the superb “Soultime!”, the band has been on the road in the US, the UK and Europe promoting the album.

And that’s why I was at Holmfirth Picturedrome staring at least four very watery seasons in the face in one day; I wouldn’t make this much of an effort for just any old band. Let me tell you what you won’t get at a Southside Johnny gig; you won’t get a performance that’s timed and sequenced to the millisecond to tie in lighting plots, dancers, additional backing tracks and live autotune. What you will get is eight stunningly good individual musicians pulling together to give a hugely devoted audience a great show. The tour is in support of “Soultime!”, so when the set opened with a storming version of “I’m Not That Lonely”, it was no surprise. “All I Can Do” and the lead track “Spinning” also appeared early in the set, while the ballad “Words Fail Me” featured in the encore.

With a fanatical audience, each demanding to hear their personal favourite Southside song, and with forty years’ worth of Jukes albums to choose from (not to mention the odd cover), it’s always a bit of a high-wire act; and that’s why people go to see this band again and again, because they know that every show’s unique. It may not always be perfect, but it’s always different. On this night it took a couple of attempts to nail the intro to “It Ain’t the Meat (It’s the Motion)”; you have to expect a few heart-stopping moments when the acrobats are freestyling.

While the band plays that familiar blend of rock and soul, the show has an unmistakable jazz feel. The horns (John Isley, Chris Anderson and Neal Pawley, playing saxes, trumpet and trombone respectively) have serious jazz credentials (as The New York Horns) as does guitarist Glenn Alexander. When the solos came along (and there were plenty of them), the audience applauded the soloists enthusiastically, in true jazz club style. The horn solos were astonishingly good (particularly John Isley’s solo in “Passion Street” which moved away from the smooth melodic feel of Joey Stann’s recorded version to an impassioned stuttering, staccato version) but occasionally the horns took stage centre, ramping up the excitement with New Orleans style counterpoint ensemble playing.

The rhythm section of Tom Seguso (drums) and John Conte (bass) rarely catches the spotlight, but the band only works if they’re on the money, and they always are. Jeff Kazee, now Johnny’s main songwriting partner is also the perfect onstage partner, his high, soulful tenor voice blending perfectly with Johnny’s rich baritone as a duettist and harmoniser. As for Southside, he still takes responsibility for pulling all the strings, but now he can rely on all of The Jukes to take the pressure off at any time.

The only way you can pull off a gig like this is to have great musicians working with you; the downside of having great musicians in the band is that they get bored really easily. The challenge for Southside Johnny, through every single gig, is to balance those priorities and get the best out of the entire band. At The Picturedrome, the audience had a great time and the band looked they were having a ball as well. Job done.

Now if only we could do something about that group we see at every gig, ‘the men who can’t clap on two and four’ (or any beat at all to be honest) and ‘the men who can’t carry a tune in a JCB scoop’, we’d all be much happier.

You can find the setlist for the gig, courtesy of Miss October, here and photos from the gig here, courtesy of, well, me actually.

And just a quick word about Broken Witt Rebels from Birmingham whose muscular riffs, powerful vocals and stage presence warmed the audience up nicely for the headliners.

Our next contributor plays saxophone with Southside Johnny and The Asbury Jukes but also released a strikingly good album this year as part of the New York Horns which is one of Allan’s albums of the year. When we asked him for a High Fives piece, here’s what he came up with. We think you’ll like this.

5 Horn Sections That Changed My Life

As a saxophone player, one of my absolute favorite ways to make music is with other horn players. Give me a trumpet or two, a couple of other saxophone players and a trombone to add some love, and you’ve got a recipe for a whole lotta fun. If the rhythm section is the meat and potatoes, and the vocalist is dessert, then the horn section is the salt. We bring out all the other flavors and make everything oh so much sweeter.

In thinking about the subject matter for this best-of list, it quickly dawned on me that I had MANY more than five examples that I could draw upon to make my point. So many that I almost gave up! After some careful consideration though, here’s five of the horn sections that have changed my life through their contributions to the music:

Count Basie Orchestra

THE swingin-est band in the history of jazz. Count Basie’s band emerged in the 1930’s in Kansas City, and became the de facto definition of foot-stomping swing with their penchant for shouting blues, riffing head arrangements, and an infectious groove that just made you want to dance. The jazz traditions of “riffing” and “head arrangements”, while not originating with the Basie band, were certainly developed and forwarded onward by the band. Many of the riffs, licks and phrases that you will hear modern horn sections play can trace some or part of their lineage back to the Basie band. Check out “The Atomic Mr. Basie” (1957) and “Count Basie Swings, Joe Williams Sings” (1956). Two of my all time favorite Basie albums.

The JB Horns/Horny Horns

James Brown redefined popular music. He also redefined the role of the horn section in popular music. Prior to his influence, horns would generally have a more melodic role -- playing melodies and generally being in a “lead” role. The late swing and early jump blues bands often were led by horn players and under the vocals the horns played a large supporting role, remaining a mostly harmonic underpinning. James changed all that. The horn section under James Brown became another rhythmic instrument, driving and propelling the groove. With snapping rhythmic pulses and repeating motifs, the horn section was another texture in the rhythm section, adding propulsion and rhythmic intensity. Check out “Mother Popcorn”, “Super Bad”, “Soul Power” and “Cold Sweat” for classic examples. The JB Horns (Maceo Parker, Fred Wesley, Alfred “Pee Wee” Ellis) also were a fixture of P-Funk and Bootsie’s (Collins) Rubber Band, as the Horny Horns.

Memphis Horns

Growing up in North Carolina, in the southern United States, it was inevitable that I was exposed to the music coming out of Memphis, Tennessee and especially STAX Records. Wayne Jackson and Andrew Love, aka the Memphis Horns, are one of the most recorded horn sections in history. If you’ve heard “Dock Of The Bay”, “Soul Man”, “Hold On I’m Comin’”, “Suspicious Minds”, “Sweet Caroline”, “Takin’ It To The Streets”, “Let’s Stay Together”, “Born Under A Bad Sign”, “Knock On Wood” (and countless other hits), then you’ve heard the Memphis Horns. They appeared on virtually every STAX recording, backing Otis Redding, Sam & Dave, Eddie Floyd, Carla & Rufus Thomas and an endless list of others. Not only were they a staple of the Memphis scene but could also be found as part of the Muscle Shoals scene, and on recordings with Aretha Franklin and Wilson Pickett.

Tower Of Power

No modern horn player that plays funk, soul or R&B hasn’t heard of or spent time studying TOP. Bursting onto the scene in Oakland, CA in 1968, Tower saw its peak success from 1973 to 1974. The band continues to tour extensively to this day, playing hundreds of shows every year across the world. The horn section has been featured on countless recordings by artists as diverse as Little Feat, Graham Central Station, The Monkees, Santana, Elton John, John Lee Hooker, Rufus, Rod Stewart, Huey Lewis and the News, and Aerosmith and has come to define a punchy, modern and funky style of writing and performing for horns. Check out “Tower of Power” (1973) and “Back to Oakland” (1974) for the definitive TOP experience.

Jerry Hey/Jerry Hey Horns

While not a horn section unto himself, Jerry Hey has probably written more horn arrangements for hit songs and albums than anyone else in the business. As part of the Seawind Horns, Jerry was brought to the attention of Quincy Jones. That relationship led to Jerry’s writing for some of the biggest names in the industry. His credits as an arranger include albums from Michael Jackson, Brothers Johnson, Donna Summer, Rufus, George Benson, Patti Austin, James Ingram, Frank Sinatra, Barbra Streisand, Earth, Wind and Fire , Al Jarreau, Chaka Khan, and the list goes on… Two of my favorite albums that feature Jerry’s writing (and the Jerry Hey Horns) extensively are Al Jarreau’s “Jarreau” and “High Crime” (Check out “Imagination”!) and likely my all time favorite Jerry Hey arrangement (and performance) is from Michael Jackson’s “Workin’ Day And Night” (“Off The Wall”).

I could go on and on… there are so many great horn sections, players and writers out there, making incredible music. Hopefully this list will give you some food for thought and a good place to begin to explore the horn section legacy. Enjoy!

So, purely in alphabetical order (by album title) because there’s no way I’m trying to rank these in order of preference. They’re all very different and I can recommend any one of them to any real music fan; these are my five favourite albums of 2014.

“Dunfearing and the West Country High” – Phil Burdett

Phil Burdett’s latest album (on Drumfire Records) was a complete surprise for me. I’d heard Phil play a solo acoustic set a couple of years ago on a night out with the Riot Squad, but this was a completely different beast. “Dunfearing…” is the first part of the “Secular Mystic” trilogy, which should be completed with the release of parts two and three in 2015. It’s an album that sounds gorgeous; you could just sit and let its mix of folk, rock, country and a bit of jazz wash over you, but a little bit of extra effort and careful listening brings out all of the detail that Phil and the musicians have packed in to it; and there’s a lovely tribute to the late Jackie Leven. After reviewing the album, we also managed to grab an interview with Phil during the summer, which is a fascinating insight into a great songwriter.

“How About Now” – Ags Connolly

By sheer coincidence, also on Drumfire records, was the debut album from Ags Connolly, “How About Now”, which is now also available in a lovely limited edition vinyl pressing. Ags is based in Oxford but his roots are deep in the American South and his genre is a country offshoot known as Ameripolitan. He takes the outlaw attitude of artists like James Hand, Willie Nelson, Johnny Paycheck et al and gives it a personal twist with some very poignant songs. The album was produced in Edinburgh by his Drumfire labelmate, Dean Owens, and works well with full country band arrangements as well as the powerful solo acoustic guitar backing of the closing song “How About Now” (which was a genuine one-take recording).

I know; you’re surprised that I’ve picked a jazz album. Truth is that I love to hear a good horn section, and most horn players away from the day job like to stretch themselves with a bit of jazz. The horns in question are John Isley (saxophone), Chris Anderson (trumpet) and Neal Pawley (trombone), better known as the horn section of The Asbury Jukes, aided and abetted by Jeff Kazee (keys) and Glenn Alexander (guitar). There isn’t a bad, or even a mediocre track on the album and with moods ranging from the blues of “Strollin’ with Sean” through the evocative, mellow “Morningside at Midnight” to the 24-carat soul of “Can’t Stand to See You Cry”, there’s something for everyone.

“To Find the Spirit” – Stone Foundation

And continuing on the soul theme, how about some genuine home-grown English West Midlands soul? Stone Foundation has been steadily building up a devoted following for about ten years now, but “To Find the Spirit” may turn out to be the game-changer for them. The band takes influences from all over the soul spectrum to create a sound very much of this century but which appeals to very disparate groups of fans. The album grabbed me from the first few bars with the Hammond and horns intro of “To Find the Spirit” and impressed from start to finish. After 10 months (and seeing the band live three times), the standout song is definitely “Don’t Let the Rain”, driven along by Neil Sheasby’s slinky bass groove but, again, there’s no filler here.

“Tone, Twang and Taste” – Pete Kennedy

Now the reason this one’s here is that Pete Kennedy (one half of one of my favourite groups, The Kennedys) decided to pay tribute to the pioneers of the electric guitar prior to the rock ‘n’ roll era; the guys who had grab the interest by using technique and melodic invention rather than volume and a thudding 4/4 beat. Pete is a superb technical musician and “Tone, Twang and Taste” is so obviously a labour of love; every song is played with immaculate attention to detail and they all sound like they were great fun to do, particularly Pete’s ukulele version of “Rhapsody in Blue”. The commercial possibilities for this album were always very limited, and that’s one of the reasons I admire Pete so much for producing something that made me smile from start to finish.

You can read the original reviews of these albums on the site complete with all of the links to the songs on Spotify or Youtube; just type the title into the search box and you’re away. Go on, have a listen; they’re all great albums.

It’s relatively easy to record an album these days; you can do it at home or maybe in a studio and it won’t cost you the earth. You can organise your own distribution online or at live shows; you won’t get rich but you will get some return for your creativity. Not everything released by this route is good; there are way too many vanity projects, but occasionally something really worthwhile emerges. Sometimes a group of talented and like-minded musicians get together and just play the tunes they really want to play. If it makes a few dollars, that’s fine, but that’s not really the point because the musicians are playing the music they want to play and having a bit of fun with their own original material and a few covers.Very, very occasionally the result is an album packed with, superb performances and arrangements that you want to listen to again and again. “New York Horns” is one of those.

So, who are the New York Horns? Well the horn players are Chris Anderson (trumpet and flugelhorn), John Isley (tenor and baritone sax and bass clarinet) and Neal Pawley (trombone and vocals) and they’re better known as the horn section of Southside Johnny the Asbury Jukes. Here they’re aided and abetted by fellow-Jukes Jeff Kazee (piano, Hammond B3, keys and vocals) and Glenn Alexander(guitars, dobro, mandolin and vocals) and a rhythm section of Shawn Pelton (drums and percussion) and Tony Tino (electric bass).

The album opens with a very different instrumental take on KT Tunstall’s breakthrough song “Black Horse & the Cherry Tree”. Where the original builds gradually by using a loop pedal for instrumental and vocal parts, the NYH version comes in, after a quick guitar intro, at full strength with Latin American percussion (courtesy of Marc Quinones) and perhaps a hint of early Santana. Chris Anderson’s tone poem “Morningside at Midnight” is next, taken at a walking tempo, and evoking the spirit of Morningside Heights with electric piano, wah-wah guitar and unison sax and trumpet. The Hank Williams classic “Hey Good Lookin’” is the first vocal piece, driven along by a guitar riff and horn fills before the sax, guitar and Hammond solos kick in. “Song for Levon”, a Chris Anderson and John isley co-write is a tribute to Levon Helm. It’s stately and mournful in classic New Orleans tradition and features Southside Johnny as guest harmonica player.

The uptempo jazz-funk of John Isley’s “Little Miss Thing” wouldn’t sound out of place on either of Donald Fagen’s first two solo albums and features the first trombone solo on the album from Neal Pawley; it’s great fun. “Can’t Stand to See You Cry”, written and sung by Jeff Kazee, is a powerful soul song with a superb plaintive vocal and an arrangement that Allen Toussaint would be proud of while “Strollin’ With Sean” is a fairly straightforward blues driven along by a horn riff and it’s another chance for the guys to solo for all they’re worth and have a great time. The final cover on the album is John Hiatt’s “Little Head” which retains the feel of the original while adding punch with horn fills.

John Isley’s “78 Below” opens with an uptempo Nile Rodgers –style lead/rhythm riff which, with the punchy bass, drives the piece along underneath a staccato muted trumpet melody before the mood mellows again with Chris Anderson’s “More Than Tears”.Opening with a restrained combination of piano, acoustic guitar and mandolin, this moody and melancholic piece is perfect for the flugelhorn which Chris uses to carry the main melody. John Isley’s “Under the Hood” is an atmospheric piece using Hammond and the horn ensemble to create the mood and features a muted trumpet solo from Chris Anderson. The album’s closing song, “Nothing Left to Say”, opens slowly in New Orleans jazz funeral style, with a guest vocal by Christine Ohlman before erupting just before the halfway mark into uptempo New Orleans jazz with trumpet and sax counterpoint. There’s also a lyrical message here which underpins the whole album; however bad things get, there’s always music to pull you back, whether you play it or listen to it. It’s a perfect way to close the album.

The beauty of this album is that it was made because the musicians involved really wanted to make it. They had a lot of ideas and they wanted to get those ideas out there to people who might want to hear them. It’s not about focus groups or marketing teams; it’s about strong, sometimes very personal, material arranged well and played superbly. If you need to label it, I suppose it’s jazz, but it also pushes out in other directions as well, towards funk and old school soul; there’s certainly plenty of variety on display. Check out some of the song links here and think seriously about buying yourself a copy, if only to let a bunch of great musicians know that some people out there are actually getting the message.

Last Friday I had the opportunity to spend some time with the legendary Southside Johnny before the final show of his UK tour, featuring Gary “US” Bonds, at Shepherds Bush Empire. He was entertaining and engaging (as always):

AM – We did an interview here three and a half years ago and at that time you spoke to me about this acoustic thing that you might or might not be doing, which was really big news at the time and that’s happened now, so how’s that going?

SJ – It’s really good, it’s a fun thing. It’s really stripped down; we travel in a van together, we have breakfast in the morning as a band (there’s only six of us, with the road manager) and we set up our own equipment and tear it down and it really feels like the old days when you used to have to do that. It was a complete commitment to the whole day of travel, set up, play, tear down and travel again and even though I’m kinda long in the tooth I really enjoy it because it seems so organic and basic; there’s no star turns at all. I love playing acoustic music and it gives us a chance to play George Jones and Emmylou Harris and Bob Dylan and Tom Waits and some Bruce in a different format.

AM – You mentioned a few country artists there; you’ve always been a country fan haven’t you?

SJ – Yes I liked country when I was very young. What I didn’t know is that my mother, way back in the thirties when the ukulele was the big thing, she bought a ukulele from Sears Roebuck and she would sit on the porch with her father (her mother had died young) and some neighbours, and they would sing country songs, so I guess it’s in my blood, it’s the Irish part of me.

AM – I’ve heard you play “He’ll Have to Go” (country classic made popular by Jim Reeves) at The Astoria, I think.

SJ – Well, Soozie Tyrell, who plays violin with Bruce, she has a country band in New York City, and I would go up and do lots of songs with her because they’re real singer’s songs, they’re story songs with great melodies so it’s fun to make that kind of music.

AM – The old Jukes revolving door seems to have slowed down a little…

SJ – Not too much. We’ve got a new saxophone player, John Isley; I think (drummer)Tom Seguso’s been over here.

AM – At the time of the last interview, Joey (Stann, tenor sax) and Ed (Manion, baritone sax) were still with you but they’re obviously off doing other things now. There seems to be lots of side projects going on as well now that the New York Horns have made a record.

SJ – These days it’s a lot easier to make a record for a little money and it’s also easier to manufacture; for a buck apiece you can make as many CDs as you want and there’s a profit margin once you’ve paid for the studio time and the musicians and all the rest of it. I’m lucky that Jon Bon Jovi lets me use his studio but, even if he didn’t, studio time’s not as expensive as it used to be, home recording’s easier and the internet makes it easy to get distribution to all your fans round the world. It’s a good time to be a musician because you can do all the little things you want to do without incurring great expense.

AM – Did the side projects always happen to a certain extent; do we just hear about them more because of social media?

SJ – We’ve always done those things; Bobby (Bandiera, guitar, now playing with Bon Jovi) and I went out for months, here and there, doing a lot of charity gigs and they put us on a plane, in business class, just him and me and a guitar and harmonicas. We went all over and played charity things and it was just a chance to play in hotels and every little place you could find and it was a lot of fun because it was no stress.

AM – I saw you at Sheffield City Hall in 1995, I think, just the two of you doing the stripped back thing and it was a great night.

SJ – Well, if you have confidence in what you’re doing and you have material you think you can accomplish with just a guitar and a harmonica it’s a chance to explore all that too. Years ago Bobby, Rusty Cloud, David Hayes and I played in Paris at the Chesterfield Club. We did a two-week stint there with very little publicity and we rode the Métro and that was a lot of fun too. We all stayed in the same hotel, this funky little place and it was two weeks in Paris. I’m lucky I’ve had the chance to do those things and just explore what making music means other than pedal-to-the-metal trying to earn a living. I can do just about anything I want now. I’m never going to be rich, I’ve known that from the very beginning so there’s not a great stress to be a big star and make a lot of money; I make a living and that’s all I want. I just want to be allowed to do whatever kind of music I want to make.

AM – I was going through some of my very old Jukes records today and it struck me that after Billy Rush left, you got much more involved in the songwriting process; there’s not a lot of your songs on the early albums.

SJ – I was a writer back then but I would write certain things with certain people but the bulk of the song would be theirs and I’d say “forget it, I don’t want to have anything to do with it”. I wrote with Billy but I don’t have the kind of ego that I need to see my name on the album, but now with Jeff and Bobby the songwriting is really a collaboration so I get to write a lot of lyrics that I find interesting like “Into the Harbour” and “Winter in Yellowknife” and stuff like that which is not the norm for romantic love songs.

AM – On “Pills and Ammo”, it struck me that your name’s on every track as a writer. Do you have a certain way of working; do you do the lyrics and Jeff does the music?

SJ – It’s pretty much that way except that if I come up with a musical idea we’ll explore it and he helps me with lyrics; it’s a real collaboration in other words. I’ll come with an idea, a whole lyric and I’ll say “I think it sounds like this” and he’ll find a way to make it sound like what I want, but then he’ll say “what about this…” and we really try to bounce ideas off each other.

AM – I know Jeff’s a big fan of Squeeze and Difford and Tilbrook wrote in that way as well.

SJ – I’m a big Squeeze fan too.

AM – About your audiences; you’ve retained a very loyal audience in the UK. In the US, are the audiences different?

SJ – Well, they speak English. There’s people who come and see us a million times and there’s people who come and see us for the first time and usually we can win people over. It’s the energy and a lot of the music is made to lift you up so it’s not some shoegazer and it’s not some egomaniac, it’s really just music. I think one of the things that keeps people coming back is that it’s never the same night after night and I don’t know where it’s going to go and tonight’s going to be like that too because we’ve got Gary Bonds and we know what we’re going to do but when we get on stage, that may change.

AM – I’ve been watching Billy Walton live for a while and I’ve noticed that his crowd seems to be getting younger. I’ve seen teenagers at his shows but I’ve also seen people in their twenties who know all of the songs. I just wondered if that was happening with The Jukes.

SJ – We do get a lot of younger people; we had a bunch last night in Holmfirth, but we have our loyal fans and they’re the ones that usually get the first tickets and they’re older, but they bring their kids and some of them bring their grand-kids but anybody who’s willing to give us a shot we’re willing to play for as long as they come and have a good time and just enjoy themselves.

AM – November used to be the traditional time for a Jukes tour but the last couple of years you’ve been over during the summer. I’m guessing that’s because of festivals.

SJ – Yes. This year especially, because we had the Cornbury Festival to start it and we’re ending with Bospop in Holland so we had two festivals and we put a bunch of gigs in between and those get to be the anchor gigs. Unfortunately there’s new taxes in England, Foreigner Entertainer Tax (FET) and Hood, who settles everything got hit with it the other night and they wanted £1,400 for FET. Nobody knew exactly what it was but it’s legitimate and all that does is it makes it harder for bands like me to come over here; you can only lose so much money. On the one hand I guess they need the tax money but if they really need that, they should get all those people who hide their money offshore and let us poor bands try to play a little music.

AM – And a lot of musicians are hiding money offshore.

SJ – Well I’m not hiding any money; my money comes and goes and I get to see it as it goes past and that’s about it.

SJ – Probably Knebworth with Led Zeppelin. We did two shows; we did the first one, flew home and did a show in Washington DC, flew back and did the second show at Knebworth and flew home again, if I remember rightly, so it was a lot of flights. And we played about forty minutes but it was fun, it was a unique experience and we met some good people over here.

AM – As far as I can remember, and I was a long way away from the stage, it seemed like you got a pretty good response that day.

SJ – It seemed like that; of course we didn’t the full power that the headline act got (we don’t do that, if somebody opens up for us they get full power, but I’m not ever worried about a band opening up for us, I hope they do well). But I thought Led Zeppelin was terrible; there was no bass in the mix in the audience.

AM – That’s all the serious stuff but I’ve got couple of other questions for you. You’ve now got a huge body of work to choose from when you play; is there anything you feel can’t be left out?

SJ – Well, there’s nothing that can’t be left out, but I’m not there to just indulge myself, I’m there to give people what they want too and you split the difference. I know they want to hear “I Don’t Want to Go Home” and “The Fever” and “Trapped Again” or “Talk to Me” or “This Time It’s for Real” or “Love on the Wrong Side of Town” or whatever and you try to include those but when you twenty-two, twenty-three songs, there’s plenty of room for you to do what you want too. There are times when I say “I’m sick of this song, I’m not doing it” and it lasts for few months then it’s back in.

AM – Here’s one from my sister, who’s a big fan. Is there a song that makes you cry?

SJ – There’s a lot I guess. I’ve got some that I’ve written but Alison Krauss does a song called “I Can Let Go Now” which I think was written by Michael McDonald and it just kills me because I relate it to my mother. I don’t think that’s what it’s really about but for me it is and I just can’t listen to that song. There’s a lot; there are things that really touch me. I wouldn’t be doing if I didn’t get emotionally involved. When I was young and heard certain songs, I either got happy or excited or even felt sexy or touched, and to be part of that tradition is an amazing thing, but I’ve never really lost the idea that if someone sings a great song and really means it then I can get lost in the emotion.

AM – I find it really difficult to listen to “Many Rivers to Cross” after the version Jeff did here in 2010.

SJ – He really puts his heart and soul into it.

AM – Finally, hoping for another scoop, have you get anything in the pipeline?

SJ – Well, Jeff and I have written most of the songs for the next Jukes album; when we get it finished, I don’t know. We’re hoping to get in the studio, perhaps this winter and get it out some time next year. I’d love to get it out by Christmas but that’s just not gonna happen, and I’ve written some songs for a new Poor Fools acoustic thing and I’ve got a couple of other projects in mind too. I could retire if I wanted to, but then what would I do? I’d sit around the house, get fat and drink myself to death, and I can do that on the road.